fifth
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Please tell me why no one cares when we cry
No second glances as you pass us by
Aren’t I a person too?
Just because we’re different, doesn’t mean we’re not here
Hidden on the inside, and frozen with fear
We just want to be free and not have to worry
About the danger we face, being who we’re meant to be
Can’t you hear us crying? Can’t you see us dying?
Please tell me why no one cares when we cry
No second glances as you pass us by
Aren’t I a person too?
Just because we’re different, doesn’t mean we’re not here
Hidden on the inside, and frozen with fear
Just be nice to the ones not like you
Living is all we’re trying to do
We here now to stay, we aren’t going away
You can help us to not be afraid
Please can you try to be there when we cry
A few kind glances as your passing us by
We are all people you see
Ask what its like to be different. Different like me
This is not my best work lol I just threw it together
I tried to make the ending happy but it’s hard to be positive about the subject I decided to write about.
The hate that the Lgbt+ community is still strong. It is still illegal to be lgbt in many countries. In some of the States, it is legal to use someone’s sexuality/gender identity as a defense for m*rdering a person. H0mophobic environments/ family members are the cause for many lgbt su*cides.
Many of us live in fear and shame of who we are. This is not okay. This is a problem. We need to fix it.
You could draw a cow behind a spiked fence
Explanation:
Vincent van Gogh (Dutch, 1853-1890), The Poplars at Saint-Rémy, 1889. Oil on fabric, 24¼ x 17 15/16 in. The Cleveland Museum of Art; Bequest of Leonard C. Hanna, Jr., 1958.32
A recent trip to south Florida occasioned what has become a routine sojourn for me, a stopover at the Norton Museum of Art.
At the Norton, van Gogh’s The Poplars at Saint-Rémy is overwhelmed twice, first by its ornate antique frame, then by its installation on the third floor. Softly lit, it inhabits its own grey-painted gallery, a pearl in an oversized jewel box. It doesn’t help that the landscape’s colors are relatively sedate for a late van Gogh, relying on white to suggest terrain bleached by sunlight. The central two poplars are enclosed within a diamond-shaped design circumscribed by skyline above and crossing diagonals of rock-strewn land below. It is an inherently unstable composition, harmonized by color, the blue sky repeated in ground plane shadows and the blanched earth tones picked up in clouds. There is perhaps no way to write about van Gogh’s brushwork, idiosyncratic and instantly recognizable, without resorting to banalities; suffice to say that his sense of urgency demanded an entirely novel handling of paint. The Poplars at Saint-Rémy was made in a single session, a feat of compressed intensity.
Sharing a gallery with two other works by the artist, Degas’s Portrait of Mlle. Hortense Valpinçon resides more comfortably in its ground floor setting. The story of its production is no less remarkable than that of the van Gogh; leaving Paris during the barricades of 1871, Degas arrived at the Valpinçon country home without a canvas, and apprehended some mattress ticking upon which to paint his friend’s nine-year-old daughter. She leans into a sideboard and surveys us with unusual self-possession for one so young, holding in her right hand what has been variously described as a slice of fruit or a coin.
hope it helps
Answer:
some people may select war and terrorism for the utilitarianism.
others follow peace and love against war.
but what we select according to utilitarianism won't be always positive.
some decisions would end up as disaster.
we should choose the decision which is better for the society.
